光希まさとの創造の世界へようこそ！

つれづれなるままに、硯にむかひて、心に移りゆくよしなし事を、そこはかとなく書きつくれば、あやしうこそものぐるほしけれ。

このたび、佐藤宏司殿より授かりし「奥行き感の表現」なる技を、わが「ネオジャパネスク」の創作に取り入れんと試みしことにつき、思うところを記さん。

幾千もの試作を重ね、約千の作品を生み出す日々の中に、いにしえの吉井勇が「桜散る 西行の墓の 苔の上」と詠みし如き、和洋の調和の妙を見出しぬ。桜の枝々が西洋の尖塔に絡まり、着物の袖が大聖堂の柱に触れる。その様は、まさに東西の美の出会いを思わせ、心惹かれるものなり。

佐藤殿の説く「主役→舞台→仕上げ」なる順序立ては、まことに理にかなう教えにして、わが創作の道筋を照らす灯火となりぬ。「大→中→小→エフェクト」の階層化は、まるで平安の絵巻物が幾重にも重なる襖絵のごとく、心の奥へと誘う手立てとなりき。

されど、「ネオジャパネスク」と「アール・ヌーボー」の融合は、なお道半ばなり。「桜と西洋建築」という表層の対比を超え、より深き文化の交わりへと至るには、さらなる精進を要するべし。特に、わが得意とするガラスの透明感、水晶のごとき光の屈折は、いまだ満足すべき域に達せず。

かの佐藤殿も言わるるごとく、「layered background」なる技は、奥行きの無限の可能性を秘める。しかし、そを我がものとするには、なお千の夜を費やすべきか。

芸の道に終わりなし。わが「奥行き感の探求」もまた、終わりなき旅路なり。されど、今は佐藤殿より授かりし智恵の一端を糧に、一歩ずつ進みゆかん。雲の上なる月を仰ぎて、なお高みを目指す心持ちにて。

人の世の芸事において、先達の導きは尊きもの。佐藤殿のご教授に深き感謝を捧げつつ、我が道を行くのみ。ガラスの向こうに透ける和の心、西洋の廊下に響く琴の音。その融合の究極を求め、なお筆を執り、画を描き続けん。

さらなる高みにて、いつの日か佐藤殿と再び芸談に花を咲かせん日を楽しみに、日々の研鑽を怠るまじ。

つれづれなるままに　光希まさと

Essays in Idleness – Modern Edition: “The Pursuit of Depth”

As I sit idly with brush in hand, letting random thoughts flow through my mind and setting them down without particular purpose, I find myself in a curious state indeed.

On this occasion, I wish to record my thoughts regarding the technique of “depth expression” bestowed upon me by Master Koji Sato, which I have endeavored to incorporate into my “Neo-Japonesque” creations.

Through thousands of trials and the production of nearly a thousand works, I have discovered a harmony between East and West reminiscent of the poet Yosano Isamu’s verse: “Cherry blossoms falling upon the moss of Saigyo’s tomb.” Branches of cherry trees intertwine with Western spires, and kimono sleeves brush against cathedral pillars. Such scenes evoke the meeting of Eastern and Western beauty, captivating the heart.

Master Sato’s teaching of the sequence “protagonist → stage → finishing touches” is truly a reasonable principle that illuminates the path of my creative process. The layering of “large → medium → small → effect” serves as a technique drawing the viewer deeper into the work, like Heian-era picture scrolls layered behind folding screens.

However, the fusion of “Neo-Japonesque” and “Art Nouveau” remains a journey half-completed. To transcend the superficial juxtaposition of “cherry blossoms and Western architecture” and achieve a deeper cultural integration requires further dedication. Particularly, my specialty of glass transparency and crystal-like light refraction has yet to reach a satisfactory level.

As Master Sato himself says, the technique of “layered background” holds infinite possibilities for depth. Yet to truly master it, perhaps another thousand nights of effort are required.

There is no end to the path of art. My “pursuit of depth” is likewise an endless journey. Nevertheless, I shall continue forward step by step, nourished by the wisdom imparted by Master Sato. Like gazing at the moon above the clouds, I maintain the mindset of always aiming higher.

In the artistic endeavors of this world, the guidance of pioneers is precious. With profound gratitude for Master Sato’s instruction, I shall continue on my own path. The Japanese spirit visible through glass, the sound of koto echoing in Western corridors—I shall continue wielding brush and creating images in pursuit of the ultimate fusion.

I shall not neglect my daily practice, looking forward to the day when I might once again engage in artistic discourse with Master Sato at an even higher level of achievement.

In idle moments – Masato Koki